In recent times, I believe Vikramaditya Motwane is one of the most intriguing filmmakers I have come across in India because of the sheer range he possesses as a storyteller. My love for him and his films grew immensely after watching his web series, Jubilee, on Amazon Prime Video last year. Before this series, I had seen three of Motwane's films - Udaan, Lootera and AK vs AK.
Even though the show Jubilee was a mixed bag for me in its eternity, I was certainly invested in the idea of showcasing the emerging Hindi film industry along the lines of the post-independence period in India and the larger political and social environment governing various decisions. It motivated me to watch all his films again, especially Bhavesh Joshi Superhero and Trapped, the ones I had missed earlier. It helped me understand finer details I had not paid attention to while watching his films before.
Unfortunately, I have not been able to complete watching Sacred Games, probably his most famous work among the Indian masses. I have tried twice to watch the series, but in both instances, I could not watch beyond the first few episodes. For some reason, the world does not sit with me, and it probably becomes a major hindrance while I am watching the series to get fully invested in the narrative.
Therefore, in this essay, I will be focusing more on movies directed by Vikramaditya Motwane, discussing some key elements I really admire about his films and talking about three of my favourite movies from his filmography.
What Makes Vikramaditya Motwane So Unique & Special?
1. A Diverse Filmography
One of the most fascinating qualities of Vikramaditya Motwane as a filmmaker is his ability to tell stories covering a wide range of genres and shed light on themes that are often disguised in the shadows. From addressing the complicated father-son dynamic in his brilliant debut with the coming-of-age movie, Udaan, to creating our own homegrown vigilante superhero fighting against corruption in the gritty action drama, Bhavesh Joshi Superhero. Between these two polar opposite movies, he made Lootera, a period romantic drama set in the 1950s that explores the themes of love, loss, art and betrayal amidst the political reformation post-independence and the passing of the “Zamindari Abolition Act”.
Equally thoughtfully, he brought into focus the uncanny and undying human spirit to life with his survival thriller, Trapped, where the story unfolds in just one locked apartment inside a huge and empty housing society. And with AK vs AK, he made another delicious thriller with a splendid touch of dark comedy commenting upon the power struggle in the film industry by documenting the ugly fight between two Bollywood dynamites, Anil Kapoor and Anurag Kashyap, playing a fictional version of themselves.
The richness and diversity in his storylines are an exquisite and marvellous sight to witness. More importantly, they are not lifeless because at the core they are all human stories about freedom, love, revolution, resilience and anguish. It is noteworthy to explore how Motwane cherishes and likes to exhibit and instil a portion of humanity that makes the overall narrative even more resounding. This understanding and his willingness to break the mould every time by telling a newer brand of story is what makes him so unique, versatile and distinct in the contemporary landscape of filmmakers.
2. The Use of Songs & Music
Vikramaditya Motwane is among the few contemporary creators who understand the importance of sound and music in his films and strive towards having original compositions. He has a keen ear for selecting the right music, which not only complements the narrative but also acts as a character in itself. In his career, he has worked only with Amit Trivedi and Alokananda Dasgupta, who have created some amazing music albums and background scores that easily blend with the screenplay and elevate its impact.
Amit Trivedi has worked on the music of Udaan, Lootera and Bhavesh Joshi Superhero. With each movie having its own style and theme, he has delivered on each front, whether it is inspiring, emotional, romantic, gripping or off-beat. The way he has expressed the struggle for freedom in Udaan through the song “Naav” and the self-realisation of one’s own misdeeds in Lootera through the song “Shikayatein” is so well executed. Beyond the movies, the albums of Udaan and Lootera are stand-alone masterpieces that I revisit quite regularly and find a companion to hold me whenever I am looking for peace and escape from the outer world.
Alokananda Dasgupta is the brain behind the soundtracks of Trapped and AK vs AK. Both these movies are not heavy on songs but play a lot with the mood of the situation, and that is where the brilliance of Aloknanda Dasgupta shines with her innovative background score. She has exceptionally conveyed the daunting feeling of alienation and melancholy in the movie Trapped with the light use of string sections and environmental reverbed sounds that bring the audience in sync with the character and his isolation in an ever-hustling and bustling city like Mumbai.
Amit Trivedi and Alokananda Dasgupta have even worked together on Jubilee as song and background score composer respectively. The music had a beautiful old-school charisma that did complete justice to the story and its time period. There is one song which comes at the end of the series titled, “Saare Ke Saare Akela” that still haunts and moves me completely with its poignant lyrics written by Kausar Munir and gut-wrenching picturisation highlighting how each character’s life has fallen apart even after reaching the pinnacle.
3. The World Building
A constant feature in each one of Vikramaditya Motwane's films has been the fabulous world-building. In this endeavour, his collaboration with cinematographers such as Mahendra J. Shetty, Siddharth Diwan and Swapnil S. Sonawane has churned out some striking visual poetry. His fine eye for detail is visible with each frame in his movies showcases there is much thought and deliberation spent on bringing his vision to the screen.
In Udaan, Vikramaditya Motwane and Mahendra J. Shetty present the raw beauty of Jamshedpur's industrial landscape. The film explores the contrast between the grim surroundings and the characters' wish for a brighter future with much ease and simplicity. The use of long takes and close-ups intensifies the emotional impact of pivotal confrontational scenes between the father and the son. The camera becomes a silent observer, allowing the audience to immerse themselves in such moments.
Contrary to Udaan, in Lootera, they create the magical charm of old Kolkata in the 1950s, where every frame feels like a vintage photograph brought to life. These visuals act as an integral part of the narrative by captivating the audience in its opulent setting. There is also a great connection between the characters and the elements of nature in the story. Throughout, the colour palette of the movie blends and stays in composition with the environment, weaving a beautiful fable.
With Trapped, Vikramaditya Motwane and Siddharth Diwan smartly worked around the limited space of the apartment, creating a sense of entrapment and claustrophobic environment, which leads to a visceral experience for the audience. The film taps into the audience's emotional investment in the protagonist's plight and isolation shown through montages of the chaotic city of Mumbai, underlining Motwane's ability to elicit empathy through his storytelling.
However, with Bhavesh Joshi Superhero, the stillness got diffused and transformed with the inventive use of cameras in close corners building tension to the film's action sequences, making them feel raw and authentic. Motwane and Diwan brilliantly utilise the cityscape of Mumbai, showcasing its contrasting facets, from the shining high-rising apartments to the grimy underground areas. This juxtaposition serves as a metaphor for the film's exploration of power and corruption, and the choice of locations and the hard lighting of powerful colours further add to the atmosphere.
Vikramaditya Motwane, in his collaboration with Swapnil S. Sonawane on AK vs AK, cooked an innovative film shot in a documentary-style format with a handheld camera. This approach created a sense of urgency and realism that made the audience a part of the unfolding drama. At times, there seemed to be a deliberate blurring of the lines between the staged scenes and real-life moments, making it challenging to distinguish reality from fiction, which totally works in favour of this thrilling meta-mockumentary kind of film.
My Favourite Films By Vikramaditya Motwane
1. Udaan
Set against the backdrop of Jamshedpur, Udaan follows the journey of Rohan, a young and angsty teenager, returning to his hometown after getting expelled from a prestigious boarding school. He harbours a dream of becoming a writer. However, his authoritarian father, Bhairav Singh, has something else planned for him. Further, the movie delves deep into the estranged relationship between father and son, capturing the pain and silence, along with the aspirations of a teenage youngster.
Motwane, with great sensitivity and compassion, crafts this rebellious character searching for liberation. He goes beneath the surface of a young man who refuses to conform and interlinks it with the complexities of familial relationships. One aspect I really admire about this film is the climax and the character arc. After a lot of struggle, when Rohan finally gets his freedom in the end, he also becomes more responsible as he takes his younger brother, Arjun, with him and away from his father’s shadow.
Rajat Barmecha as Rohan Singh, embodies the turmoil of a young soul seeking freedom with unparalleled conviction and emotional depth. Ronit Roy is at his finest as Bhairav Singh, the stern patriarch of the household. His commanding presence does great justice to the character. His performance is equally balanced and resounding when Bhairav’s vulnerable side is explored in certain few scenes where he expresses how he has been conditioned and brought up by his father in accepting what all he believes is necessary to be a man and lead a respectable life.
Udaan was the first Motwane film I saw around the time when I had just started to take my writing a bit more seriously. It had a significant on me as I got more drawn towards poetry and understanding its nuances and what it truly signifies. With regard to my writing, the movie had less influence on my style of writing, rather it helped me realise what kind of stories I want to tell. The influence was so enormous that till today, for good or for bad, some or the other character from my story somehow ends up becoming a poet or forms some connection to poetry as the narrative progresses. Talking about poetry, I believe this poem by Devanshu and Satyanshu Singh in the movie deserves a special mention.
“Meri tarah hota agar khud par zara bharosa toh kuchh door tum bhi saath-saath aate,
Rang meri aankhon ka baant-te zara sa toh kuchh door tum bhi saath-saath aate,
Nasha aasmaan ka jo choomta tumhe, hasraten tumhari naya janm paatin,
Khud doosre janam mein meri udaan chhoone kuchh door tum bhi saath-saath aate.”
2. Lootera
Well, to begin with, I am a huge fan of intense romantic dramas and Lootera is one of my favourite films in the same genre coming from Bollywood. Vikramaditya Motwane very skillfully uses the beauty and elegance of 1950s Calcutta and Dalhousie in this period drama to tell a heartbreaking story about love, betrayal and redemption. It also has a signature Motwane political layer where he sheds light on the effects of the “Zamindari Abolition Act” on affluent leaders that gently breathes through the film in silence but never takes centre stage.
This movie is a perfect example of how to adapt another story, give it a unique touch and present it in front of the audience. Motwane takes the key element of nature from “The Last Leaf” by O. Henry and creates a whole new story which is not only distinct but also stays true and complements the original masterpiece. He uses lush green sceneries and white snow-covered mountains as a symbol for the character, their relationship and how it has evolved. For example, in the first half, when Varun and Pakhi are shown developing feelings for each other, they are surrounded by a gush of beautiful trees, oceans and palaces. However, in the second half, when there is a certain scar and strain in their relationship, they find themselves alone in the middle of tall snowy mountains and barren wilderness.
Ranveer Singh as Varun and Sonakshi Sinha as Pakhi portray their characters effortlessly. Ranveer balances the act of a mysterious archaeologist with a dreadful past with much grace and finesse. Even Sonakshi delivers a formidable performance that is both delicate and tragic. Beyond their individual performances, it was their chemistry that made this emotional journey so much more convincing and resonating. Because of this film, I understood the importance of art in our lives, and yes, I went on to paint a number of leaves on the last pages of my school notebook!
3. Bhavesh Joshi Superhero
Superhero movies often take the audience into the world of fantasy, and there is a need for greater suspension of disbelief to find a footing in that universe. Even though fantasy is certainly not my genre, I was a massive fan of superheroes growing up, especially Marvel Cinematic Universe (MCU). Unfortunately, after the death of Tony Stark (Robert Downey Jr.), a.k.a. Iron Man in Avengers: Endgame, it was the end of the road for my love for superheroes and Marvel.
However, I have always craved for a homegrown Indian superhero and was super pumped for Bhavesh Joshi Superhero. Sadly, the film did not work with the audience and was soon pulled out of theatres, and I never got the chance to watch it. After years, when I finally did, I thoroughly enjoyed the vision of Vikramaditya Motwane and how he tried to nurture a sense of realism with the themes he was trying to touch upon.
Corruption has been an issue in India for ages, and the idea of young men trying to bring a change in the system just makes a perfect plot for a vigilante superhero action film set in Mumbai, India. With realism, Vikramaditya Motwane has also maintained an equal amount of coolness in the film with its characters' presentation, the types of equipment, such as motorbikes and sticks they use in combat and the well-choreographed action sequences.
Moreover, what makes Bhavesh Joshi Superhero so innovative and thrilling is it steers away from the traditional idols of how powerful and victorious superheroes are with not so complete but slightly anti-climatic end to this movie where things are not so black and white. Harshvardhan Kapoor as Sikander Khanna (Sikku), Priyanshu Painyuli as Bhavesh Joshi and Ashish Verma as Rajat are cast perfectly for each of their roles. They share a heartfelt bond with each other that makes us root for them in their journey.
Conclusion
In the upcoming years, I am excited to see what kind of stories Vikramaditya Motwane has in store for us, especially with his production house, “Andolan Films”, working in full swing. There have been several new announcements from their side, and even though they have not been able to attract many eye-balls at the moment, I am definitely hopeful that more and more will people get to know about Vikramaditya Motwane and the kind of strides he is taking in terms of storytelling in India.
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